Nicole Kidman’s new film Babygirl has stirred conversations surrounding the representation of female sexuality and power dynamics within the cinematic narrative. Directed by Halina Reijn, this erotic thriller thrusts the audience deep within the tumultuous world of Romy, played by Kidman, as she navigates her desires, marriage, and career against the backdrop of New York City’s corporate scene.
Romy is portrayed as a high-powered CEO, perpetually caught between her façade of control and her repressed sexual desires. The narrative is ignited when she engages in a complex and audacious affair with Samuel, her much younger intern, played by Harris Dickinson. "I think you like to be told what to do…I tell you what to do and you do it," Samuel boldly states, setting the stage for their provocative encounters.
The film has garnered attention for its provocative themes, drawing immediate comparisons to earlier erotic films such as Fifty Shades of Grey. Critics have noted the 'orgasmic' opening scene, which reflects the film's intent to dazzle and disturb. It’s apparent from the outset of Babygirl— set to release on January 30, 2024—that audiences are expected to grapple with uncomfortable themes of sexuality and power. Conservative viewers, wary of explicit content, might find this film particularly challenging.
Kidman’s performance has been described as raw and astonishing, illuminating the often unexplored terrain of sexually repressed, older women. "There are so many different ways you can do [the provocative scenes]," Kidman remarked as she reflected on the intimate work she engaged with during filming. The chemistry between Kidman and Dickinson has drawn praise; their interactions oscillate sharply between dominance and submission, leaving audiences pondering who truly holds the power.
At the same time, some critics argue the film lacks depth, falling short of its promise to tackle significant commentary on generational differences and contemporary relationships. The buildup to Romy and Samuel’s affair feels rushed, with many viewers questioning the lack of tension leading to their explicit encounters.
Representation of female sexuality has historically been fraught with moral and judgmental narratives. Kidman’s Romy, seeking liberation through her affair with Samuel, initially seems set against social mores, wrestling with her long-held beliefs about desire and propriety. "Romy judges herself," Kidman notes, highlighting the internal conflict as Romy grapples with her dual desires for exploration and acceptance.
Yet, as the plot thickens, critics note the film disappointingly diminishes the consequences of Romy’s actions. When her husband, played by Antonio Banderas, uncovers the affair, the expected fallout feels mild—leading many to wonder if the stakes were ever really high. "After Romy’s husband finds out about her affair, he gets mad at her for about a week before forgiving her," pointed out one review. This raises questions about the film's narrative integrity; does it validate or undermine the struggles of those similarly wrestling with their desires?
The dual narratives of erotic exploration and mundane reality intertwine within the film, engendering moments both heavy and awkward. While moments of intense emotion shine through Kidman and Banderas’s performances, many scenes veer closer to the absurd than anticipated, often evoking nervous laughter due to their sheer audacity.
The eclectic soundtrack, featuring gems such as Robyn’s "Dancing On My Own," complements the visuals remarkably, marking several pivotal scenes with emotional weight. Critics assert the musical score is almost its own character, eleving sequences to deliver powerful impressions both thrilling and heartfelt.
Despite the film’s missteps, it provides important conversation surrounding the normalization of female desire and the scrutiny of societal standards. Babygirl hints at breaking the stigma often associated with women seeking fulfillment outside traditional boundaries, paralleling trends evident across contemporary cinema where older female leads explore relationships with younger male counterparts. Kidman’s dual roles—acting talent and producer—play integral roles as she chooses projects pushing boundaries and fostering conversations about female narratives.
Although Babygirl is far from perfect, Kidman’s embodiment of Romy’s struggles offers insight to audience members reflecting on their experiences with desire, control, and societal expectations. The film leaves viewers with the burning question: is it art or merely provocative spectacle? With its raw depictions and stark revelations, it challenges us to sift through our discomfort with sexuality, reinforcing the narrative's exploration of what it means to truly be desired.